The region of Labëria is a particular region known for multipart singing and home to many different genres like that of pleqërishte. Songs can be of two, three, or four parts. Two part songs are sung only from women. Three part songs are more diffused and can be sung by men and women. Four part songs are a Labëria specialty. Research has shown that four part songs have come after three part ones and that are the most complex form of polyphonical singing.[10]

Polyphonic groups of Epirus consist of four members at least. Each group has two soloists and a drone group, which provides and maintains the vocal rhythm of the song.

The first soloist (or the taker) (Greek: "πάρτης" (partis) or "σηκωτής" (sikotis), Albanian: Bëj zë or Mbaj kaba or marrësi,[13]Aromanian: Atselu tsi u lia) is the voice that sings the main melody. The first soloist performs the beginning of the song (Greek: παίρνοντας (pernontas, taking) or σηκώνοντας (sikonontas, lifting), Albanian: e merr dhe e ngre), and literally acts as the narrator and leader of the group, singing the main part of the song. The second soloist (or the turner) (Greek: "γυριστής" (yiristis)) answers (or "turns") the voice (Greek: "γυρίζει" (yirizei, turns) or "τσακίζει" (tsakizei, crimps) Albanian: kthej zë or kthyesi, Mbahes or Kthehës or Pritës[13]Aromanian: Atselu tsi u tali).

Sometimes, instead of the "turner", or according to some musicologists parallel with it, we find the role of the spinner (Greek: κλώστης (klostis, spinner), Albanian: dredhes). The "spinner" spins the song between the tonic and subtonic of the melody, a technique that reminds the movement of the hand which holds the spindle and spins the thread. This is a role that is often, but not always, found is the one of "rihtis", who drops (Greek: ρίχνει) the song in the end of the introduction of "partis", by singing an exclamation (e.g. Greek: αχ ωχ ωχ (ah oh oh) or, "άντε βρε" (ante vre)), which is a fourth lower than the tonic of the melody, resting "partis" and uniting its introduction with the entrance of the drone group.

The drone group is composed by the rest of the members of the polyphonic group and is also called iso keepers group (Greek: ισοκρατές, (isokrates, iso keepers) Albanian: Venkorë or Iso-mbajtës,[14] and Aromanian: Isu), from the GreekIsocrates "ισοκράτης" and that from the Medieval Greek "ισοκρατών" (isokraton),[15] "one who holds the ison", the note that holds on the whole length of a song, from Ancient Greek "ἴσος" (isos) generally meaning "equal" but here "equal in flight of song"[16] + "κρατέω" (krateo) "to rule, to hold".[17] The words ison and isos literally mean the continuous base note[18] and isocrates creates and holds the modal base of the song. The isokrates role is particularly important; the louder the keeping of the vocal drone, (Greek: ισοκράτημα" isokratima), the more "βρονταριά" (vrontaria) (i.e. better) the song goes, because the rhythm and the vocal base of the song are maintained.[19][20] The term derives from the Byzantine Greek musical tradition, where the "ίσον" also features.[11]

The perfection of the rendition of the polyphonic song presupposes the existence and the unity of the several voices–roles of the polyphonic group. As a result, polyphonic song presupposes the collectiveness of expression and the firm distinction between the roles it reflects, and the unwritten hierarchy in the composition of the group and the distribution of the roles.[citation needed]

^Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6,page 356,"Neither of the polyphonic textures characteristic of south Albanian singing is unique to Albanians.The style is shared with Greeks in the Northwestern district of Epirus (see Fakiou and Romanos 1984) while the Tosk style is common among Aromanian communities from the Kolonje region of Albania the so called Faserotii (see Lortat-Jacob and Bouet 1983) and among Slavs of the Kastoria region of Northern Greece (see N.Kaufamann 1959 ). Macedonians in the lower villages of the Prespa district also formerly sang this style "

^Engendering Song: Singing and Subjectivity at Prespa by Jane C. Sugarman,1997,ISBN 0-226-77972-6,page 356,A striking counterpart from outside the Balkans is the polyphonic Yodeling of juuzli from the Muotatal region of Switzerland

^Notes from the Balkans: Locating Marginality and Ambiguity on the Greek-Albanian Border,2005,ISBN 0-691-12199-0,page Back matter ,"... the appropriate manner(Adkins 2002; Adkins and Lury 1999; Skeggs 1997). 16. Theodosiou (2003); Nitsiakos and Mantzos (2003) note that polyphonic singing has become one of those traditions that is argued about by nationalist folklorists on both sides of the border, .."